Made available in DSpace on 2016-04-26T20:27:19Z (GMT). No. of bitstreams: 1 Manuella Silva dos Santos.pdf: 963837 bytes, checksum: ab8696038be19a3292bfc0e3c28e4a30 (MD5) Previous issue date: 2008-05-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The progress of mankind has always depended on the creative capacity of man. In the beginning of civilization, knowledge was transmitted orally, from person to person, and occasionally was lost. Technology, regarded as new tools and gadgets, has allowed the democratization of knowledge. Thus, literary works experienced a huge revolution, with the invention of typography by Gutenberg; later, they faced the menace of photocopiers, and, now, audiobooks (spoken-word works) and eBooks (books available for download on the Internet) coexist with printed works. Songs have come from live sessions to LP, then to cassette tapes until they came to be listened to on CD and, nowadays, downloaded from the Internet in MP3 format. This growing technological evolution has provided the basis for the rise of a new society, the information society . We are living the revolution of computers, Internet, and mass media. We term this scene digital era , i.e., the society marked by the digital revolution and widespread information sharing, whose fundamental tools are the computer and the means of communication. In this scene, evidenced by the turning of atoms in bits, this study presents reflections on the impact of the Internet on copyrights. Through facts, technical data, and juridical aspects, we try to trace a panorama of our times, facing the main questions concerned with this theme coming from the premise that considering copyrights on the Internet is essential not only for their survival, but mainly for incentivating creators to create more and more, contributing for the growing development of our society / O progresso da humanidade sempre dependeu da capacidade inventiva do homem. Nos primórdios da civilização, o conhecimento era transmitido oralmente, de pessoa para pessoa, e por vezes se perdia. A tecnologia, compreendida como novas ferramentas e inventos, permitiu a democratização do conhecimento. Assim, as obras literárias viveram uma grande revolução, com a invenção da tipografia por Gutenberg; mais tarde, elas viram-se ameaçadas pela máquina de xerox, e, hoje, os audiobooks (obras narradas oralmente) e eBooks (livros disponíveis para download na Internet) convivem com as versões impressas. As músicas passaram do ao vivo para o LP, depois para o rádio, mais tarde para a fita cassete, até serem ouvidas em CD e, atualmente, baixadas via Internet no formato MP3. Essa crescente evolução tecnológica forneceu a base para o surgimento de uma nova sociedade, a sociedade da informação . Estamos vivendo a revolução dos computadores, da Internet e dos meios de comunicação de massa. Denominamos esse cenário era digital , isto é, a sociedade marcada pela revolução digital e pela disseminação da informação, cujas ferramentas fundamentais são o computador e os meios de comunicação. Nesse cenário, marcado pela transformação de átomos em bits, o presente estudo apresenta reflexões sobre o impacto da Internet nos direitos autorais. Por meio de fatos, dados técnicos e aspectos jurídicos, procuramos traçar um panorama da atualidade, enfrentando as principais questões que envolvem esse tema e partindo da premissa de que respeitar os direitos autorais na Internet é essencial não só para sua sobrevivência, mas principalmente para o incentivar os criadores a criarem cada vez mais, contribuindo para o crescente desenvolvimento de nossa sociedade

Made available in DSpace on 2016-04-29T14:23:45Z (GMT). No. of bitstreams: 1 Thasia da Silva Oliveira Magalhaes.pdf: 326456 bytes, checksum: 1b5be66297f89695fbd8ede66cc1711e (MD5) Previous issue date: 2008-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research has as objective to approach questions related to intellectual property in the cyberspace, mapping the different points of view about the theme. It presents in a succinct way the origin of the author's concept in the western history, and the current conflict of the multiple authorship existence possibility in the cyberspace. It analyses the use of alternative licenses to author's protection and finally the production of immaterial wells. The approach adopted is multi-disciplinary, doesn't ignore the current legal order, but investigate the characteristics of the cyberspace, as well the repercussions in the law. It confronts the authorship's protection in the digital media and the concept of immaterial wells. The studied authors are, among others: Paul Edward Geller, Lawrence Lessig, Yochai Benkler e Siva Vaidhyanathan. It highlights the concept of proprietary software, free software and its variations. It considers the viability of the copyright current alternatives, in particular the Creative Commons project, the GNU project and the BSD project / Esta pesquisa tem como objetivo levantar questões relacionadas à propriedade intelectual no ciberespaço, mapeando os diferentes pontos de vista sobre o tema. Apresenta de forma sucinta a origem do conceito de autor na história ocidental, e o atual conflito da possibilidade da existência da múltipla autoria no ciberespaço. Analisa o uso das licenças alternativas de proteção do autor e por fim a produção de bens imateriais. A abordagem adotada é multidisciplinar, que não ignora o atual ordenamento jurídico, mas investiga as características do ciberespaço, bem como as repercussões sobre o Direito. Confronta a proteção da autoria nas mídias digitais e o conceito de bens imateriais. Os autores estudados são, entre outros: Paul Edward Geller, Lawrence Lessig, Yochai Benkler e Siva Vaidhyanathan Destaca o conceito de software proprietário, software livre e seus desdobramentos. Considera a viabilidade das alternativas atuais de direito autoral, nomeadamente o Projeto Creative Commons, o Projeto GNU e o Projeto BSD

Im digitalen Zeitalter vollzieht sich ein Wandel in der wissenschaftlichen Kommunikation. Veröffentlichungen erfolgen immer häufiger und zum Teil ausschließlich in elektronischer Form. Informationsaustausch ist aktuell und weltweit über das Internet möglich. Trotz der großen Vorteile hinsichtlich Sichtbarkeit und Verbreitung gibt es Bedenken und Zurückhaltung bei Open-Access-Publikationen. Rechtliche Unklarheiten und wissenschaftlicher impact spielen dabei eine Rolle. In der heutigen Veranstaltung werden Wege zu Open Access aufgezeigt. Herrn Dr. Steinhauer gelingt es die notwendigen Rechte für Open-Access-Veröffentlichungen zwar aus juristischer Sicht aber verständlich für jedermann und auf unterhaltsame Weise zu erläutern. Er zeigt Strategien für die Umsetzung an der Technischen Universität auf. Ergänzend dazu stellt Herr Brüning Open-Access-Lizenzen der Creative-Commons-Initiative vor. Diese erlauben modulare Gestaltungsmöglichkeiten für die Nutzung von digitalen Dokumenten und bieten zugleich Rechtssicherheit für Autoren und Leser. Die parallele Veröffentlichungsvariante "Hybrides Publizieren" bringt einige Vorteile sowohl aus ökonomischer Sicht als auch für den Verbreitungsgrad und die Sichtbarkeit von Werken. Insbesondere am Beispiel wissenschaftlicher Spezialdokumente kann von guten Erfahrungen anhand konkreter Beispiele berichtet werden.

This exegesis traces a path through the production of an animated work, and discusses the evolution of an individual production workflow that refigures the industrial animation process of prototyping. By incorporating spontaneity within the animation workflow, the creative output of the project focusses on the development of a series of non-narrative, process-driven temporal constructions that fuse form and process. The creative work occupies 75% of this Masters project, and the exegesis 25% (7500 Words)

This diploma thesis deals with protection of copyright within online media, with a focus on personal blogs. The author presents definition of basic terms of copyright, especially definition of usage of the work and description of way of use, and deals with the issue of liability for copyright infringement and identification of persons who carry the responsibility. This thesis is also dedicated to copyrights itself and its instruments of enforcement. Increased focus is put on available jurisdiction, especially jusrisdiction of The Court of Justice of the European Union. Finally, the author conducted a survey among the authors who publish their works online to determine their experience with the violation of their rights.

This thesis covers the topic of copyright law in schools. It is an overview of the usage of the copyright law, especially in the practice of pupils, students, teachers and other pedagogical workers. It tries to present an integrated overview of basic rules which can be used in the educational process in the areas of creation of an original work, licenses, non-contractual usage of the original works and the liabilities for breaching the copyright law. It covers the situations when the pupils, students, teachers and other pedagogical workers are the creators of an original work as well as cases when these people want to use original works created by others. A part of this thesis are comments from practice and findings based on surveys and discussions with the pupils and pedagogical staff.

The thesis focuses on the analysis of the effect of selected elements of public licenses on increasing the quality of information published in the informational environment of the internet. The objective of the thesis is to ascertain whether there is a real effect on the quality of information in the internet environment through improvements in the quality of the sources of such information, as well as the reflection of the results of the conducted analysis within the obligatory informational education in the Czech Republic. In the first section, the work deals with the copyright aspects relating to the analyzed issue and defines, from a legal standpoint, the individual components of the information environment being analyzed - the internet, the participants of the informational process, the information and the options of dealing with them. In the subsequent section, the matter of licenses is presented, with a focus on the issue of public licenses in general, as well as specific selected license types constituting a potential platform for qualified informational behavior. The last section of the thesis summarizes the results of qualitative research of the effect of licensing policy on the informational environment of the internet through the application of public licenses. The results of such...

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L’emploi largement répandu des licences Creative Commons, en vue de partager des oeuvres non logicielles, justifie le choix de leur consacrer une étude, afin d’apprécier leur rapprochement actuel au régime légale de la propriété littéraire et artistique et afin d’envisager de conciliations prospectives. L’étude relève la singularité de Creative Commons en tant que système de gestion des droits d’auteur ; ce dernier, composé d’une série de licences, est guidé par une association de promotion du partage d’oeuvres et mu par une idéologie fondée sur l’autonomie de la volonté des auteurs. L’hypothèse de notre étude repose sur la variété constatée des libertés accordées par les licences. Ces dernières se transforment en une série d’outils standardisés qui s’imposent progressivement comme une norme pour la jouissance partagée d’oeuvres – tout en se fondant sur les règles du droit d’auteur. En même temps, l’étude des conséquences de la mise en oeuvre de chaque licence illustre la création d’asymétries entre les acteurs du partage. Notamment, si la distinction entre utilisation commerciale et non commerciale – introduite par les licences – constitue un outil deconciliation du régime propriétaire avec celui du partage créatif, l’utilisation de la notion ambiguë d'utilisation non commerciale influence le sort des licences et complique le processus évolutif des oeuvres partagées. L’affinement de la variété des licences conduit l’étude à s’atteler à l’examen des mécanismes prospectifs afin d’aboutir à une coordination des licences avec le droit d’auteur qui serait fondée sur le principe fondateur de Creative Commons, à savoir l’essai de rééquilibrage des intérêts impliqués au droit d’auteur. / The widespread use of the Creative Commons licenses for the sharing of non-software works demonstrates the imperative to devote a study to the licenses in question. The goal of the study is to assess the current links of the licenses to the legal regime of intellectual property in order to suggest prospective ones. The study underlines the singularity of Creative Commons as a copyright management system, which consists of a series of licenses and is guided by an association promoting the sharing of works and by an ideology based on the autonomy of the authors. The premise of the thesis is founded on the variety of freedoms granted by the licenses. The licenses transform into a series of standardized tools that are gradually imposed as a standard for the sharing of works while relying on the rules of copyright. At the same time, the analysis of the consequences of the implementation of each license demonstrates the asymmetries created between the agents involved in the sharing process. In particular, our study shows that although the distinction between commercial and non commercial introduced by the licenses acts as a conciliation tool between the proprietary regime and that of the creative sharing, the introduction of an ambiguous concept - that of non-commercial use - influences the fate of licenses and complicates the evolutionary process of shared works. One way to resolve this tension proposed by our thesis is to review prospective mechanisms that would achieve a level of coordination between the licenses and copyright based on the founding principle of Creative Commons, which is the rebalancing of the interests involved in copyright.

隨著科技的進展，產生了許多新興的創作媒介與方式，使得終端的網路使用者不再甘於僅做為主流媒體所提供內容之接收者，也想進一步地成為內容的提供者，網路上混搭創作的興盛正是在此種潮流趨勢下的一種社會文化現象。網路混搭創作可依其創作內容之不同而區分為三種：網路混搭、影片混搭與音樂混搭；但其創作之方式都有一個共同的特徵：將不同來源之資訊、素材，經由混搭創作者發揮創意後，以嶄新面貌而呈現之作品。著作權制度之目的乃在促進人類智識文化之進展與累積，因此對於新興之網路創作也應賦予一定之保護，才能真正發揮著作權制度之功能。然而，現行著作權制度制定時並未充分考量到數位時代下各種創作方式與媒介之特性，所以並無法提供此類創作適當之保護。為了社會文化之發展，現行的著作權制度有其修正之必要，讓負責平衡公私益之合理使用原則能夠發揮其功能，而不再僅具有象徵性之意義，而是能更實際地落實保護之功能。此外，在現行著作權制度尚未修正前，本文也嘗試提出兩個體制內解決之方法：創作共用以及創新之商業模式。透過創作共用可以讓目前的著作權制度更有彈性；創新的商業模式則能讓所有著作權關係人能夠互利共生，更有助於問題之實際解決。 / This thesis aims to study on copyrights concerning the mashups on blogs. The technology evolution brings about new media and new mode for creation and the end-users can both be the information recipients and providers. Mashups become one of the frequently adopted modes among the internet creation and the copyright of mashups call for a closer study. The main idea of mashups is to mash and recombine materials taken from different sources with the creator’s own creativity. Mashups are regarded as a creation, which requires legal protection. However, the protections for mashups and their creators in current laws are still incomplete and needed to be amended for a better environment for creators. Beside the amendment of copyright laws, other solutions are as well available, such as Creative Commons and new business models. Creative Commons provides authors with some licensing clauses, which helps to create a more flexible creative environment. On the other hand, a good business model could transform legal issues into a commercial opportunity and provide the best solution for all parties related. The first chapter of this thesis will outline the main purpose and possible contribution of this thesis. The second chapter will introduce the blogs. The introduction will begin with the streaming technology and concerning legal issues. Streaming technology is a crucial factor in the developments and the functions of blogs. Further on, the thesis will elaborates the history and future trend of blogs. In the third section of the chapter, some main copyright issues of blogs will be brought into discussion. The third chapter is the introduction of audio-visual mashups on blogs. The discussion begins with website mashup technology and the types of mashups. Remix Culture plays an important role in the development of mashups and its connection between audio-visual mashups on blogs will be elaborated. The chapter will also include some copyright issues of audio-visual mashups on blogs and a detailed discussion on the fair use doctrine of the current copyright law. The fourth chapter will focus on the Creative Commons and new business models, which should be an alternative solution beside the law amendments. The discussion will involve with an introduction about Creative Commons. The ccMixter and Jamendo can be taken as two examples of combination of Creative Commons and audio-visual mashups. The chapter will as well include some latest digital music business models and suggestions for future mashup business models. This thesis indicates the deficiency of current copyright laws concerning the protection of mashups and calls for attentions to the necessity of law amendments. In addition, the thesis propose two alternative solutions for the copyright dilemma: the Creative Commons and new business models, through which the mashups problems can hopefully dealt with in a more practical way.